Goya Collection (page 2)

Young Women with a Letter, ca 1813-1820. Creator: Goya, Francisco, de (1746-1828)
Young Women with a Letter, ca 1813-1820. Found in the Collection of the Musee des Beaux-Arts, Lille

El Tiempo (Time and the old woman), c. 1810. Creator: Goya, Francisco, de (1746-1828)
El Tiempo (Time and the old woman), c. 1810. Found in the Collection of the Musee des Beaux-Arts, Lille

Pllate 60 from Los Caprichos : Trials (Ensayos. ), 1799. Creator: Francisco Goya
Pllate 60 from Los Caprichos : Trials (Ensayos.), 1799

Plate 25 from Los Caprichos : If he broke the pot (Si quebroel Cantaro. ), 1799
Plate 25 from Los Caprichos : If he broke the pot (Si quebro el Cantaro.), 1799

La Maja Desnuda, (The Naked Maja), c. 1797-1800, (c1934). Artist: Francisco Goya
La Maja Desnuda, (The Naked Maja), c.1797-1800, (c1934). Possibly commissioned by Manuel de Godoy, to hang in his private collection An image of Venus in the nude

They make their toilet, c.1820 (engraving)
PCT4265532 They make their toilet, c.1820 (engraving) by Goya y Lucientes, Francisco Jose de (1746-1828); (add.info.: Engraving by Francisco Goya y Lucientes (1746-1828)

Standing male nude, 1789, (1943). Creator: Francisco Goya
Standing male nude, 1789, (1943). Drawing in the Real Academia de Bellas Artes de San Carlos de Valencia, Spain. From " Europaische Handzeichnungen"

Young woman at the Well (Susanna and the Elders?) from the Madrid Album, 1795. Found in the Collection of Biblioteca Nacional, Madrid

Los Caprichos, series of etchings by Francisco de Goya (1746-1828), plate 24: No hubo remedio (There was no help), first edition, 1799

Witches Sabbath, 1797-1798. Artist: Goya, Francisco, de (1746-1828)
Witches Sabbath, 1797-1798. Found in the collection of the Museo Lazaro Galdiano, Madrid

The injured Mason, 1786-1787 (1939). Artist: Francisco Goya
The injured Mason, 1786-1787 (1939). Two workers carry another, who has been wounded in a work accident. The scaffolding in the background reveals the underlying subject as workersś safety

La Gallina Ciega, (Blind Mans Buff), 1788, (c1934). Artist: Francisco Goya
La Gallina Ciega, (Blind Mans Buff), 1788, (c1934). Rococo cartoon produced by Spanish artist Francisco de Goya for tapestries at the Royal Palace of El Pardo

El Pelele, (The Straw Manikin), 1791-1792, (c1934). Artist: Francisco Goya
El Pelele, (The Straw Manikin), 1791-1792, (c1934). Four young women laugh and play, blanket-tossing a doll or manikin. The blanket-tossing of a doll is used here by Goya as a clear allegory of

Do not shout you idiot, 1799. Artist: Francisco Goya
Do not shout you idiot, 1799. Published in Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain

The Shamefaced One, 1799. Artist: Francisco Goya
The Shamefaced One, 1799. Plate 54 of Los Caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Spain, Aragon Region, Zaragoza, Seo Cathedral at dusk

Trial of the Inquisition, circa 1819. Copy of Eugenio Lucas (1817-1870) after a painting by Francisco de Goya. History Museum. Madrid. Spain

Allegory of the Villa of Madrid, 1810, by Francisco de Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. Allegory of the Villa of Madrid, 1810. History Museum. Madrid. Spain

The Witches Sabbath or The Witches, 1797-1798, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Witches Sabbath or The Witches, 1797-1798. Lazaro Galdiano Museum. Madrid. Spain

The Threshing Ground or Summer, 1786, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Threshing Ground or Summer, 1786. Detail. Lazaro Galdiano Museum. Madrid. Spain

Saint Elizabeth of Portugal healing a sick woman, circa 1799
Saint Elizabeth of Portugal (1271-1336). Queen of Portugal. Saint Elizabeth of Portugal healing a sick woman, circa 1799. By Francisco de Goya y Lucientes (1746-1828). Lazaro Galdiano Museum. Madrid

The Witches Sabbath, 1797-1798, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Witches Sabbath, 1797-1798. Lazaro Galdiano Museum. Madrid. Spain

The Inquisition Scene, 1808-1812, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Inquisition Scene, 1808-1812. Detail. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019

The Burial of the Sardine (El Entierro de la Sardina)
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Burial of the Sardine (El Entierro de la Sardina), 1812-1819. Detail. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019

Antonio Ricardos (1727-1794), 1794, by Goya
Antonio Ricardos (1727-1794). Spanish military. Portrait by Francisco de Goya y Lucientes (1746-1828), 1794. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019

Mausoleum of Francisco de Goya in Bordeaux, 1828
Antonio de Brugada (1804-1863). Spanish painter. Mausoleum of Francisco de Goya in Bordeaux, 1828. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019

Equestrian portrait of Ferdinand VII (1784-1833)
Ferdinand VII (1784-1833). King of Spain (1808-1833). Equestrian portrait of Ferdinand VII, 1808. Detail. By Francisco de Goya y Lucientes (1746-1828). San Fernando Royal Academy of Fine Arts

Disparate 10
An etching from Goya's Los Disparates series of artworks (The Follies). This example shows a rearing horse, biting the garment of a flailing man in a barren landscape. Date: circa 1816-1823

Francisco de Goya y Lucientes - Los Zancos (Stilts) (1791-1792) - original on display at Museo Nacional del Prado. Date: 1792

2nd 18th Century 19th 1808 1814 Action Animal
2nd, 18th, century, 19th, 1808, 1814, action, animal, art, attack, attacked, attacking, cavalry, confrontation, contemporary, age, dead, death, died, episode, Europe, european, fight, fighting

Francisco Goya (1746-1828). Caprices. Plaque 10. Love and death. 18th century. Prado Museum. Madrid

Francisco Goya (1746-1828). Caprices. Plaque 5. Two of a kind. 18th century. Prado Museum. Madrid

Dead Birds
GOYA Y LUCIENTES, Francisco de (1746-1828). Dead Birds. Oil on canvas

Le ayuda a bien morir (He helps him to die)
GOYA Y LUCIENTES, Francisco de (1746-1828). Le ayuda a bien morir (He helps him to die). Drawing

Until Death, Plate 55 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Until death. Plate 55 of Los Caprichos, etching and burnished aquatint. Etching;

Of what ill will he die?
GOYA Y LUCIENTES, Francisco de (1746-1828). Of what ill will he die?. Preparatory red wash and sanguine drawing for plate

The Unlucky Death of Pepe Hillo
GOYA Y LUCIENTES, Francisco de (1746-1828). The Unlucky Death of Pepe Hillo (Jose Delgado) in the Ring at Madrid

Allegory: War or Evil. The Death and an owl
GOYA Y LUCIENTES, Francisco de (1746-1828). Allegory: War or Evil. The Death and an owl. Drawing

Boys Playing at Soldiers, c. 1775-99 (oil on canvas)
GLS29679 Boys Playing at Soldiers, c.1775-99 (oil on canvas) by Goya y Lucientes, Francisco Jose de (1746-1828); 29.2x41.9 cm; Stirling Maxwell Collection, Pollok House, Glasgow

Disparate de tontos (Fool's folly), 1877 (etching, aquatint & drypoint)
3745584 Disparate de tontos (Fool's folly), 1877 (etching, aquatint & drypoint) by Goya y Lucientes, Francisco Jose de (1746-1828); 29x43 cm; Manchester Art Gallery

Francisco Goya Y Lucientes, Pintor, 1799 (etching, aquatint, drypoint & burin)
3745578 Francisco Goya Y Lucientes, Pintor, 1799 (etching, aquatint, drypoint & burin) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x23 cm; Manchester Art Gallery

No Hay Quien Los Socorra (There is no one to help them), 1863 (etching, aquatint, burnishing & burin)
3745581 No Hay Quien Los Socorra (There is no one to help them), 1863 (etching, aquatint, burnishing & burin) by Goya y Lucientes, Francisco Jose de (1746-1828); 25x34 cm; Manchester Art Gallery

El Sueno De La Razon Produce Monstruos (The Dream of Reason Produces Monsters), 1799 (etching & aquatint)
3745577 El Sueno De La Razon Produce Monstruos (The Dream of Reason Produces Monsters), 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Manchester Art Gallery

Modo de volar (A way of flying), 1864 (etching, aquatint, drypoint & burnishing)
3745575 Modo de volar (A way of flying), 1864 (etching, aquatint, drypoint & burnishing) by Goya y Lucientes, Francisco Jose de (1746-1828); 30x42 cm; Manchester Art Gallery

Bobalicon (Silly Idiot), 1864 (etching, aquatint & drypoint)
3959779 Bobalicon (Silly Idiot), 1864 (etching, aquatint & drypoint) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.3x34.5 cm; Manchester Art Gallery

No hay que dar voces (It's no use crying out), 1863 (etching, aquatint, burnishing & burin)
3745585 No hay que dar voces (It's no use crying out), 1863 (etching, aquatint, burnishing & burin) by Goya y Lucientes, Francisco Jose de (1746-1828); 25x34 cm; Manchester Art Gallery

Saturn Devouring His Son, 1819-1823 (mixed media mural transferred to canvas)
JLJ4650294 Saturn Devouring His Son, 1819-1823 (mixed media mural transferred to canvas) by Goya y Lucientes, Francisco Jose de (1746-1828); Prado, Madrid

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"Goya: A Master of Dark and Captivating Art" Francisco Goya, a renowned Spanish artist of the 18th and 19th centuries, left an indelible mark on the art world with his captivating works. From his iconic painting "The Naked Maja" to the haunting image of "Saturn Devouring a Son, " Goya's art exudes raw emotion and pushes boundaries. In "Witches in Flight, " we witness Goya's fascination with the supernatural as he depicts witches soaring through the night sky. The eerie atmosphere and intricate details transport us into a realm where reality blends with fantasy. Goya's exploration of darkness continues in "The Witches Sabbath. " This oil masterpiece portrays a gathering of witches engaged in mysterious rituals, showcasing Goya's ability to capture both horror and intrigue within one canvas. However, not all of Goya's works delve into macabre themes. In his portrait of Field Marshal Arthur Wellesley, better known as the Duke of Wellington, we see his talent for capturing the essence and personality of his subjects. The attention to detail brings this military leader to life before our eyes. One cannot discuss Goya without mentioning "Los Caprichos. " This series showcases satirical etchings that critique society during its time. With biting social commentary and dark humor, these prints reveal Goya's sharp wit and keen observation skills. "The Great He-Goat" is another enigmatic piece by Goya that challenges interpretation. Symbolizing chaos and rebellion against societal norms, this painting invites viewers to question their own perceptions while marveling at its complexity. Glimpses into everyday life can also be found in some of Goya's lesser-known works like "Reading. " Here, he captures a quiet moment between two individuals engrossed in literature—a testament to his ability to find beauty even amidst simplicity. While many know him for his paintings, it is important to note Goya's talent as a printmaker.